FR: color temperature adjustment layer

I know there are 5 million methods to adjust colors in PS, but I would really prefer a simple (and almost scientific) method like the color temperature adjustment in ACR (with the green-magenta color cast adjustment).
Ideally, PS would read the current color temperature from the EXIF data (and adjust to any adjustment layers below), and give the option to pick a neutral pixel (and display the color shift based on that). in case there is no original color temp available, the grey pixel picker could be used to establish a base value, and give the user at least relative color shift values (or the user could enter the values by hand from ACR).
The reason for this is that most (pro) photographers probably know the color temp of their environments (lights, ambient, gels etc) (or can read those values from ACR), so adjusting values in regards to kelvin would make things much more precise than the ambivalent values of e.g. the color balance adjustment.

What I was asking is a different method to achieve the same results what is possible with levels/curves/color balance etc without going into lab mode. (btw, the lack of a grey picker and the zoned approach of color balance isn't ideal sometimes)
thank you for reminding me that I need to brush up on my color theory. your reply has a tone of "why are you asking this, there are already tools for this" which I find a bit too conservative, when my intention is to make PS even more user friendly... if we would go with your paradigm, we wouldn't need levels, because everybody could just use curves, and yet both are very popular and often used based on the users preferences.
what I am asking is bringing the white balance settings from ACR into an adjustment layer, with all it's implications.
it would enable users to specifically balance images with mixed light sources (with the proposed color temp/WB adjustment layer with it's mask) by entering values in kelvin, and not some arbitrary numbers from 0-1 or 0-255. it would be so much easier to balance tungsten to daylight by adding 2000 kelvin to the image, or to control a straw gel that was added somewhere in the scene. I can imagine so many applications for this adjustment layer...

Similar Messages

Color temperature adjustment

Hello,
A really good feature would be color temperature adjustment for Adjustment Brush and Graduated Filter to be able to set a corect white balance through the whole picture. This could be a scenario: a sunset with (partialy) falling shadows (from trees) on some people. Also to have a White Balance Selector for those two adjustments.
Thanks.

What I was asking is a different method to achieve the same results what is possible with levels/curves/color balance etc without going into lab mode. (btw, the lack of a grey picker and the zoned approach of color balance isn't ideal sometimes)
thank you for reminding me that I need to brush up on my color theory. your reply has a tone of "why are you asking this, there are already tools for this" which I find a bit too conservative, when my intention is to make PS even more user friendly... if we would go with your paradigm, we wouldn't need levels, because everybody could just use curves, and yet both are very popular and often used based on the users preferences.
what I am asking is bringing the white balance settings from ACR into an adjustment layer, with all it's implications.
it would enable users to specifically balance images with mixed light sources (with the proposed color temp/WB adjustment layer with it's mask) by entering values in kelvin, and not some arbitrary numbers from 0-1 or 0-255. it would be so much easier to balance tungsten to daylight by adding 2000 kelvin to the image, or to control a straw gel that was added somewhere in the scene. I can imagine so many applications for this adjustment layer...

Quick Tip - Color Lookup Adjustment Layer in Photoshop CS6 | The Complete Picture with Julieanne Kost | Adobe TV

In this Quick Tip, Julieanne demonstrates the new Color Lookup Adjustment layer and walks you through how to download a template to quickly apply these new “looks” to your images. The files she references can be found here. http://adobe.ly/Ng3afA
http://adobe.ly/LiGadT

Can the Camera Calibration tech. in LR be used to keep IR raw images looking like the jogs on back of camera?

Color balance adjustment layer opening as levels

When I try creating a color balance adjustment layer is it opening a levels adjustment layer. I'm using the New Adjustment Layer button at the bottom of the Layers panel. Is this a bug with CS6? How can I fix the problem?

This is the process that I go through:
Selecting the adjustment icon at the bottom of the Layers Panel, as shown below.
I select color balance, as shown below.
The properties panel is brought up, and shows the color balance adjustment controls.
In your properties panel, are your saying when you follow the above, that level adjustments come up?
Janelle

Selecting Color Balance adjustment layer brings up Levels adjustment layer

Ok, so, all of a sudden I cannot get a color balance adjustment layer to come up. Every time I do photoshop creates a levels layer. Selecting levels makes a levels layer. All of the other adjustment layers seem to be working normally. How do I fix this? I have a deadline and no time to be reinstalling photoshop.

Reinstalling the application seldom helps, and re-installing without trashing your preferences is futile as you end up right where you started.
I understand your frustrartion, but please remember that you are not addressing Adobe here in this user to user forum.
http://forums.adobe.com/thread/419981?tstart=0
Excerpt from that link:
• Do not be abusive or aggressive in your tone
An aggressive or abusive sounding post will often evoke an aggressive or abusive and unhelpful reply
Remember, you are requesting help from other users, just like you, who are giving their time free of charge. No one is under any obligation to answer your question.
Thanks!

Color Balance Adjustment Layer to blend faces?

I'm using 2 different images of 2 different people, and layer masking features from one person on to another. Afterwards, I play with the levels a little bit, though the skin tones from the different features are still off. I tried using a Color Balance Adjustment Layer, though I'm not really sure what to look for. I'm just eyeballing it, though are there any guidelines for doing something like this?
1. Should I be adjusting the midtones, shadows or highlights?
2. I added a little bit of red, is there ever a time when you might add add magenta or green to blend skin tone? What about yellow or blue?
3. Any other general tips for doing this?
Thanks.

What version of PS are you using? I think there were a couple versions that variations was removed. If you have it, it should be done on the layer that you want to adjust the color, but I would make that layer a smart object first, so you could undo what ever you did.

Cannot select tones in Color Balance adjustment layer

I'm not able to select the tone menu in the color balance tool. Is this a bug?

It was the tone pulldown menu when I used color balance as an adjustment layer. But it's now working for me. I just restarted the app.

Color balance adjustment layer

When selecting the shadows, midtowns, or highlights, how does PS distinguish between these areas? If I choose to adjust just the shadows, what part is of my image color is in the shadows?
Thanks.

It goes strictly by the luminance of each pixel. If the pixel is dark, it's considered "shadows"; middle brightness pixels are considered "midtones", and the lightest pixels are considered "highlights". I have no idea what the ranges actually are, but they do overlap.
Experiment. You just have to get a feel for it.
-Noel

Color Balance Adj Layer Characteristics Changed from CS4- CS5?

Maybe some guru with better connections to Adobe knows the answer to this. (or maybe I just forgot).
I just discovered (and I don't think it is pilot error) that the characteristic behavior of the Color Balance Adjustment Layer is different in CS5 than it was in CS4/CS3. (Much stronger in CS4/CS3).
In addition, there is also an associated behavior that is like a buried legacy mode that is not made visible to the user. Here is what I mean.
If I create an image in CS4 with a single Color Balance Adj Layer, I get an adjusted image.
If I open that same PSD file in CS5, the same image is displayed.
If I use the same base image, yet create the Color Balance Adj Layer from within CS5, the adjusted image is different than the prior two.   So the Color Adjustment Layer acts like it has a hidden legacy mode where the characteristics are one type if created in CS4/CS3 yet a different characteristic if created in CS5.
My mind might be slipping (or my cold has the better of me) because I do not remember this as a documented change and I searched the internet for "What's new in CS5" etc etc. I don't remember anything on other forums about this either.
I guess the good news is, the new characteristic of the Color Balance Adjustment Layer is better behaved with a transfer curve with less clipping for highlights and shadows. Very similar to the better behavior of the change of the Brightness/Contrast Adjustment Layer going from CS2 to CS3.
Here are some comparison images.
This is the Layer Stack Used with Base Image of simple B to W gradient with CB Layer on top with just the highlights pegged to red. This is the exact same Layer Stack for all of the images shown:
Here is the first image. This was created in PS CS4 and displayed from CS4 with the conditions show above:
This is the same image from above that was saved as PSD with profile and them imported to PS CS5 with same profile. There was no change:
This next image is using the same base gradient, yet then creating the CB Layer from within PS CS5 with the same parameters, only the Red pegged for the Highlights:
Does someone have an easy answer for this. Can someone duplicate this and confirm the change from CS4 to CS5. A test by someone else would either confirm I am off base with pilot error or there is something to this.
And yes, all the images were sRGB and kept in sRGB for creation/display. All Screenshot images were the images brought up side by side on the same color managed monitor.   All Edit > Color Settings were identical.
Thanks in advance for any help
John

OK, Chris, but before I perform my act of self flaggelation for the benefit for all and my extra embarrassment, let me add in some useful information about the Color Balance Adj Layer that could be helpful.
I was working with another individual who wanted a better understanding the color balance adj layer, what is was exactly doing, how the shadows, midtones, and highlights interacted, and the differences with preserve luminosity checked or not, and also why the preserve luminosity was so hard to predict (e.g. did not really preserve luminoisty).
Without going into the deails of all of that, the tidbit I will leave as far as penance for my stupid original post above is that the Color Balance Adj Layer with the Preserve Luminosity box checked does a reasonable job or preserving luminoisty for the midtone adjustments yet definitely does not for the shadow and highlight adjustments.
An easy workaround for this is to just set the Color Balance Adj Layer Blend to Color which preserves Luminosity of the image presented from lower layers while maintaining the Color as best it can from using the CB Adj Layer (It holds the Hue and does its best to keep the same Saturation yet the Luminoisty from the presented image from lower layers takes prescendence). This does a much better job at preserving Luminosity than using the checkbox option.    I usually use this approach and keep the Preserve Luminiosity box turned off.
The error that I made was during the fairly involved exchange with this other individual, at some point I accidentally set the Layer Mask for the CB Adj Layer to 50% gray and did not notice that it had changed from the default white. Much further down the line, when this other individual could not exactly recreate my results, he mentioned working in CS3. Thinking this odd, I pulled up CS3, created the image from scratch (without the erroneous mask change to 50% gray) so therefore I duplicated his results and did not realize the error was in my original Layer Stack. To make a long story short, I went and checked for differences in all system settings, profiles, Color Settings, opacity settings, Blend settings, Layer Style settings (and their options) etc, etc and overlooked a change in the Mask gray level.       When I quickly flashed back and forth between the two documents/stack it finally popped out at me. Mea Culpa.

Using color sampler values with curves adjustment layer

Hi, I have just started trying to teach myself javascript. Based on preliminary research, it's become apparent that there are many functions in Photoshop that are either extremely cumbersome or impossible to code by hand without using the Script Listener.
My goal is as follows: first, I will manually load two photos as layers in a single document. Then I will manually place two or more color sampler points on the document. At this point I would like the script to create a curves adjustment layer (ideally clipped to layer 2) and place as individual channel anchor points the RGB data from the color sampler points on Layer 2, and then adjust the output of the points on each channel to the color sampler RGB values of layer 1.
As my first script, I realize this is probably going to be a lot of work.
I did find some code that returns the average value of manually placed color sampler points. Conceptually then, I would need to add code which creates a new curves adjustment layer and adds those RGB values (from a specific layer) as anchor points on the individual channels, and then hides one layer and looks at the RGB values of the color sampler points, and uses them as the output values for each anchor point.
Sounds simple enough from a conceptual standpoint.
I'm looking for some guidance on how to get started.
Which parts will I definitely need Scriptlistener for and will that be adequate to do the job?
How would you recommend I get started on this?
Thanks very much for any input.

The function I had provided was an example into which you would need to feed the values you got with Mike’s code.
The code below would create a Curves Layer as shown in the screenshot, but I’m not sure it would work reasonably for all cases.
// with code by mike hale;
// 2012, use it at your own risk;
// call the function to run the script
#target photoshop
createCurveAdjustmetFromColorSamplers();
// create a function fo hold most of the code
function createCurveAdjustmetFromColorSamplers(){
    // first add some condition checks
    // needs an open document in a color mode that supports layers
    if(app.documents.length == 0 || ( app.activeDocument.mode == DocumentMode.BITMAP || app.activeDocument.mode == DocumentMode.INDEXEDCOLOR ) ){
        alert('This script requires a document in Greyscale, RGB, CMYK, or Lab mode.');
        return;
    // check for at least two colorSamplers
    if(app.activeDocument.colorSamplers.length < 2 ){
        alert('This script requires at least two colorSamplers.');
        return;
    // last check for at least two layers - assume they will be on same level( not in layerSet )
    if(app.activeDocument.layers.length < 2 ){
        alert('This script requires at least two layers.');
        return;
    // create varaibles to hold the colorSampler's color property for each layer
    // for the bottom layer
    var outputArray = new Array();
    // for top layer - array could also be created this way
    var inputArray = [];
    // store the number of samples because it will be needed in more than one place
    var numberOfSamples = app.activeDocument.colorSamplers.length;
    // hide the top layer
    app.activeDocument.layers[0].visible = false;
    // collect the samples from the bottom layer
    for(var sampleIndex = 0; sampleIndex < numberOfSamples; sampleIndex++ ){
        outputArray.push(app.activeDocument.colorSamplers[sampleIndex].color);
    // turn the top layer back on
    app.activeDocument.layers[0].visible = true;
    // collect those samples
    for(var sampleIndex = 0; sampleIndex < numberOfSamples; sampleIndex++ ){
        inputArray.push(app.activeDocument.colorSamplers[sampleIndex].color);
    // make sure the top layer is the activeLayer
    app.activeDocument.activeLayer = app.activeDocument.layers[0];
// create arrays of the color values:
var theArray = [[0, 0, 0, 0, 0, 0]];
for (var m = 0; m < inputArray.length; m++) {
theArray.push([inputArray[m].rgb.red, outputArray[m].rgb.red, inputArray[m].rgb.green, outputArray[m].rgb.green, inputArray[m].rgb.blue, outputArray[m].rgb.blue]);
theArray.push([255, 255, 255, 255, 255, 255]);
// sort;
theArray.sort(sortArrayByIndexedItem);
// makeCurveAdjustmentLayer();
rgbCurvesLayer (theArray)
////// make rgb curves layer //////
function rgbCurvesLayer (theArray) {
// =======================================================
var idMk = charIDToTypeID( "Mk " );
    var desc5 = new ActionDescriptor();
    var idnull = charIDToTypeID( "null" );
        var ref2 = new ActionReference();
        var idAdjL = charIDToTypeID( "AdjL" );
        ref2.putClass( idAdjL );
    desc5.putReference( idnull, ref2 );
    var idUsng = charIDToTypeID( "Usng" );
        var desc6 = new ActionDescriptor();
        var idType = charIDToTypeID( "Type" );
            var desc7 = new ActionDescriptor();
            var idpresetKind = stringIDToTypeID( "presetKind" );
            var idpresetKindType = stringIDToTypeID( "presetKindType" );
            var idpresetKindDefault = stringIDToTypeID( "presetKindDefault" );
            desc7.putEnumerated( idpresetKind, idpresetKindType, idpresetKindDefault );
        var idCrvs = charIDToTypeID( "Crvs" );
        desc6.putObject( idType, idCrvs, desc7 );
    var idAdjL = charIDToTypeID( "AdjL" );
    desc5.putObject( idUsng, idAdjL, desc6 );
executeAction( idMk, desc5, DialogModes.NO );
// =======================================================
var idsetd = charIDToTypeID( "setd" );
    var desc8 = new ActionDescriptor();
    var idnull = charIDToTypeID( "null" );
        var ref3 = new ActionReference();
        var idAdjL = charIDToTypeID( "AdjL" );
        var idOrdn = charIDToTypeID( "Ordn" );
        var idTrgt = charIDToTypeID( "Trgt" );
        ref3.putEnumerated( idAdjL, idOrdn, idTrgt );
    desc8.putReference( idnull, ref3 );
    var idT = charIDToTypeID( "T   " );
        var desc9 = new ActionDescriptor();
        var idpresetKind = stringIDToTypeID( "presetKind" );
        var idpresetKindType = stringIDToTypeID( "presetKindType" );
        var idpresetKindCustom = stringIDToTypeID( "presetKindCustom" );
        desc9.putEnumerated( idpresetKind, idpresetKindType, idpresetKindCustom );
        var idAdjs = charIDToTypeID( "Adjs" );
            var list1 = new ActionList();
                var desc10 = new ActionDescriptor();
                var idChnl = charIDToTypeID( "Chnl" );
                    var ref4 = new ActionReference();
                    var idChnl = charIDToTypeID( "Chnl" );
                    var idChnl = charIDToTypeID( "Chnl" );
                    var idRd = charIDToTypeID( "Rd " );
                    ref4.putEnumerated( idChnl, idChnl, idRd );
                desc10.putReference( idChnl, ref4 );
                var idCrv = charIDToTypeID( "Crv " );
                    var list2 = new ActionList();
// add r points;
for (var m = 0; m < theArray.length; m++) {
          addCurvePoint (list2, theArray[m], 0)
                desc10.putList( idCrv, list2 );
            var idCrvA = charIDToTypeID( "CrvA" );
            list1.putObject( idCrvA, desc10 );
                var desc15 = new ActionDescriptor();
                var idChnl = charIDToTypeID( "Chnl" );
                    var ref5 = new ActionReference();
                    var idChnl = charIDToTypeID( "Chnl" );
                    var idChnl = charIDToTypeID( "Chnl" );
                    var idGrn = charIDToTypeID( "Grn " );
                    ref5.putEnumerated( idChnl, idChnl, idGrn );
                desc15.putReference( idChnl, ref5 );
                var idCrv = charIDToTypeID( "Crv " );
                    var list3 = new ActionList();
// add g points;
for (var m = 0; m < theArray.length; m++) {
          addCurvePoint (list3, theArray[m], 2)
                desc15.putList( idCrv, list3 );
            var idCrvA = charIDToTypeID( "CrvA" );
            list1.putObject( idCrvA, desc15 );
                var desc20 = new ActionDescriptor();
                var idChnl = charIDToTypeID( "Chnl" );
                    var ref6 = new ActionReference();
                    var idChnl = charIDToTypeID( "Chnl" );
                    var idChnl = charIDToTypeID( "Chnl" );
                    var idBl = charIDToTypeID( "Bl " );
                    ref6.putEnumerated( idChnl, idChnl, idBl );
                desc20.putReference( idChnl, ref6 );
                var idCrv = charIDToTypeID( "Crv " );
                    var list4 = new ActionList();
// add b points;
for (var m = 0; m < theArray.length; m++) {
          addCurvePoint (list4, theArray[m], 4)
                desc20.putList( idCrv, list4 );
            var idCrvA = charIDToTypeID( "CrvA" );
            list1.putObject( idCrvA, desc20 );
        desc9.putList( idAdjs, list1 );
    var idCrvs = charIDToTypeID( "Crvs" );
    desc8.putObject( idT, idCrvs, desc9 );
executeAction( idsetd, desc8, DialogModes.NO );
return app.activeDocument.activeLayer;
////// add curve point //////
function addCurvePoint (theList, valueHor, theNumber) {
var desc11 = new ActionDescriptor();
var idHrzn = charIDToTypeID( "Hrzn" );
desc11.putDouble( idHrzn, valueHor[theNumber] );
var idVrtc = charIDToTypeID( "Vrtc" );
desc11.putDouble( idVrtc, valueHor[theNumber+1] );
var idPnt = charIDToTypeID( "Pnt " );
theList.putObject( idPnt, desc11 );
////// sort a double array, thanks to sam, http://www.rhinocerus.net/forum/lang-javascript/ //////
function sortArrayByIndexedItem(a,b) {
var theIndex = 0;
if (a[theIndex]<b[theIndex]) return -1;
if (a[theIndex]>b[theIndex]) return 1;
return 0;

Reversed B&W adjustment layer; export color channel to layer; CS5.1; Ps extended (Win 7 64-bit)

I've had a serial number for 1 whole day, so I hope this isn't a completely ignorant question.
What I want to do is to have an adjustment layer that is a reversed, black and white image. I initially thought to merge B&W and reverse adjustment layers, but read that an adjustment layer may not be the target of a merge. Is the way to accomplish this to fiddle with the B&W adjustment layer sliders somehow?
Also, I think this is a related question, if I like how the black and white displayed image of a given color channel looks, how can I export that channel into a layer?
Thanks!

You can't merge adjustment layers, but you can clip one to the underlying layer (including another adjustment layer), so that it doesn't affect the layers below.
Click between the two layers in the Layers panel while holding the alt key (the cursor will change). The keyboard shortcut is alt+ctrl+G (although I don't remember if this is the default shortcut or if I made it up...I lose track).
As for turning a channel into a layer it's straightforward. Target the channel and copy, then target the RGB composite and paste (otherwise you'll just paste into the same channel).
Edit: for having had a serial number for a whole day, I must say you have an excellent grasp of the concepts. Those questions aren't ignorant at all; quite the opposite

Adjust color temperature how?

When shooting a play with tungsten lighting I set the camcorder to custom white balance but forgot to adjust the color temperature and the video now has a reddish cast.
If it was a still photo, I could open it in adobe raw/lightroom and adjust the color temperature slider until the color cast disappear.
Is there an equivalent function in premiere pro cs4?
There is a color balance video effect but it is overkill. I don't need to adjust the color on highlights, midtones, or shadow. All I need is change the color temperature. Any ideas?
I'm using premiere pro cs4. I also have photoshop cs4.

However I also worry this feature applies different correction at different times; whereas I want a constant correction throughout the video, so I can verify it looks ok without having to view the entire video.
You are correct. It is the same for about every "Auto Effect." They only work well, where nothing has changed, i.e. the lighting, the exposure, etc., so about the only way to really use this is in a very controlled studio, or properly lit location shot. That is not what one usually is working with.
If Fast Color is not working for you, explore Three-Way Color Corrector - more control.
There are also 3rd party plug-ins, like Colorista, that many favor over the CC Effects in PrPro: http://www.redgiantsoftware.com/products/all/magic-bullet-colorista-II/
Good luck,
Hunt

PPro cs6 adjustment layer color tint

I've been working on a project that uses an adjustment layer to apply some secondary color corrections using PPro's Three Way Color Corrector effect. I used just two -- one for a particular shade of red-orange (it's a plastic mixing bowl), and one for a narrow range of blues used in some product packaging (they were fluorescing under the fluorescent lights in a class room). Both of these corrections are narrow (small range of hues and saturations, and a somewhat larger range of luninance values), and the action is simply to lower the saturation to get these specific colors down to broadcast safe levels (as seen on PPro's vectorscope). Since these colors show up quite often in the video footage, and are quite isolated from all the other colors in the scene, I applied them to the whole video using an adjustment layer. Which is one of the intended uses of adjustment layers, yes? And it works beautifully, as expected.
So far so good. I look at this on my monitor, and it looks fine. I take my laptop to a plasma HDTV and look at it there, and it's spot on.
Then I used dynamic link to send the project to Encore for DVD output. I worked on menus for a while, and didn't pay much attention to the footage since I had (more or less) edit lock. When I sat down to actually watch one of the more or less complete DVDs, I noticed that the color wasn't right. It was darker and greener than I remembered (this on that same plasma screen HDTV). So I dragged the laptop back, and sure enough, it's darker and greener now.
To shorten the story, turns out the adjustment layer was the cause. I could turn it on and off using the little eyeball thingie on the timeline, and the adjustment layer is now effecting the entire image and not just the narrow range of reds and blues that are in the secondary color corrections. So I saved the two secondary color corrections as a preset and deleted the adjustment layer. Then I created a new adjustment layer and applied that preset. Boom, problem gone. No more green tint. The same secondary colors as before are under control. What's up with that?
Now, I can't reproduce it (or I'd attach some images for y'all to look at). But I saw it go by. And I've seen a couple of references to something similar to this in searching the 'net for more information. But only a couple.
So... Anyone seen anything like that? Or am I just halucinating again? If you've seen it or heard about it, what was the cause? And did it have anything to do with Encore?
Win7 fully patched
Production Premium cs6 fully patched
Project using PPro, AE, Audition, Photoshop, and Encore, mostly by dynamic linking.
Bruce Watson

There is a very common misstatement and misunderstanding of how adjustment layers work, which I'll repeat here: "Applying an effect to an adjustment layer applies the effect to all layers under the adjustment layer."
That's wrong in a subtle but important way.
What actually happens is that applying an effect to an adjustment layer applies the effect to the composited result from all of the layers under the adjustment layer.
This is an important distinction, because it puts the adjustment at a different place in the order of operations in the rendering pipeline.
Anyway, that's a long and perhaps overly theoretical way of saying that, yes, you may see some difference between applying an effect directly to a bunch of clips compared with applying the effect to an adjustment layer over that same bunch of clips.

How can you match an existing color when you are using the Hue/Saturation adjustment layer?

Hi, I have a student who wants to match the color of a new layer to the exact color of an existing layer. He is using an adjustment layer to "eyeball" the color match, but is there a way to ensure that the match is perfect?

Depends, John.
If you're able to create a reasonable selection via Color Range, feathered masking, etc, then by matching one specific color, you'll also be correcting for that entire range of hue. It might have been needed anyway...or you use a color filter to correct the whole image, if it's needed.
As we all know, each image presents its own specific challenges and solutions.

Using hue/saturation adjustment layer to match color from another image?

How can I use a hue/saturation adjustment layer on image 'A' so that it matches the color of image 'B' please?

Depends, John.
If you're able to create a reasonable selection via Color Range, feathered masking, etc, then by matching one specific color, you'll also be correcting for that entire range of hue. It might have been needed anyway...or you use a color filter to correct the whole image, if it's needed.
As we all know, each image presents its own specific challenges and solutions.

FR: color temperature adjustment layer

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